The US recorded music market (at retail level) touched bottom in 2012 on strong digital sales and adoption of digital subscription services, and will grow in 2013 The industry’s licensing revenues in 2012 were also boosted by much higher performance revenues collected by SoundExchange from digital radio services such as webcaster Pandora and satellite provider Sirius XM The margin enhancing effect of an improved sales mix as the physical to digital transition proceeds to a licensing model is mirrored in the results of Warner Music Group, which also includes a music publishing segment

Slides from the presentations by the following speakers at the Media & Telecoms: 2013 & Beyond conference on 15 January 2013:

•Sir Martin Sorrell, CEO, WPP
•Michael Tobin, CEO, Telecity Group
•Liv Garfield, CEO, Openreach
•Dido Harding, CEO, TalkTalk Group
•Victor Zhang, CEO, Huawei UK & Ireland
•Cindy Rose, Executive Director of Digital Entertainment, Virgin Media

Enders Analysis co-hosted its annual conference, in conjunction with BNP Paribas and Deloitte, in London on 15 January 2013. The event featured talks by 14 of the most influential figures in media and telecoms, and was chaired by Sir Peter Bazalgette. This report provides edited transcripts of the talks given by nine of those speakers: Sir Martin Sorrell, CEO, WPP Tim Davie, Acting Director General, BBC Dan Cobley, Managing Director, Google UK & Ireland Michael Tobin, CEO, Telecity Group Liv Garfield, CEO, Openreach Dido Harding, CEO, TalkTalk Group Victor Zhang, CEO, Huawei UK & Ireland Cindy Rose, Executive Director of Digital Entertainment, Virgin Media Q&A: Dido Harding, Victor Zhang and Cindy Rose Ed Richards, CEO, Ofcom

This file contains the data tables associated with the report Music publishing 2012: Recovery ahead [2012-109]

Music publishing has demonstrated its resilience in the past decade as revenues have remained largely intact despite first the collapse of the recorded music industry and second the worst global economic crisis in a generation in 2008-09. Music publisher revenues are estimated to have risen by 0.4% in 2011 to $5.6 billion on a constant currency basis, just 3.4% below its 2008 level (not taking into account inflation), and we forecast moderate growth to 2016. Emerging markets represent an opportunity for growth, although from a low base, notably in Brazil and Russia, with China and India more problematic.

Global Radio’s acquisition of GMG Radio has cemented its dominant position in the commercial radio sector, giving it a 51% share of revenues and a 47% share of listening.

If approved by the Competition Commission, the deal will allow Global to extend the Heart brand to the North of England and Scotland, helping to establish a stable listener base ahead of the digital switchover.

We believe there is scope for further consolidation, which is likely to focus around Planet Rock and Absolute Radio – two groups that are leading the way on digital platforms.

Spotify’s operating losses doubled to €46.8 million in 2011 on expansion to the US. Still, with cash consumption half of operating losses, Spotify will be around for many years

Spotify has a profitable subscription business, while the losses of the advertising-supported tier could be trimmed to produce breakeven by a more stringent policy on usage

However, with usage uncapped in the US until July 2013 and the launch in Germany in 2012, Spotify’s losses on the freemium tier could well continue to swamp the profits of the subscription side for the near term

This report contains our annual assessment and forecasts for recorded music, in the context, as always, of the implacable physical-to-digital transition in music consumption and purchase, which continues to drain the topline of the recorded music industry.

Although 2011 was another year of decline in global recorded music retail sales, these fell just 4% in 2011 compared to 10% in the previous year, on a strong year for the album in the top markets, notably Adele’s 21 album.

Globally, the CD remains the recorded music industry’s leading sales format – accounting for the majority of retail sales in 2011. Despite brisk retail sales of download to own (DTO) tracks and albums, and encouraging sales of subscriptions in 2011, sales of mobile formats (ringtones, ringbacks, tracks) have been in decline since the peak in 2008. This gives urgency to the industry’s successful transition to digital music purchase in their top markets.

Much of the consumption of recorded music is free-to-the user, whether licensed, already purchased or pirated. Live streaming is the top music behaviour, shifting from the computer to the handset via adoption of smartphones and the free apps offered on the iTunes and Google Play storefronts, amongst others. Pandora is the emblematic supplier of ‘smart radio’, and dominates this segment in the US. Smartphone adoption is also driving subscriptions to the premium mobile tier of Spotify, Rhapsody and similar services.

The centre of digital music purchase remains the download-to-own (DTO) track or album, which we estimate accounted for $4.8 billion of retail sales in 2011, roughly 10 times the level of subscription revenues. Apple has built an unassailable lead on the DTO segment, leveraging the ecosystem created for its devices.

It is well known that piracy drains the creative industries of retail sales, although the precise interaction between piracy and foregone sales is difficult to pin down. Anti-piracy regimes are being established to combat digital piracy of cultural goods, including music, but effective implementation is slow.

Our forecasts for recorded music sales do not factor in any uplift to retail sales from successful anti-piracy action. We expect retail sales of digital formats to surpass the CD by 2015, more or less stabilising the market’s topline revenues. However, sales of around $16.5 billion by that time would be just a fraction of their 2005 level of $30 billion.

US music publishers have reached agreement on rolling over the mechanical royalties due on sales of digital and physical music formats for 2013-17

The expanded scope of the statute to cover ‘scan and match’ cloud locker services, such as Apple’s iTunes Match, provides incremental revenues to music publishers; the unlicensed ‘storage’ cloud locker services are not concerned

ASCAP’s agreement on US radio performance royalties will however reduce music publisher revenues

US album volumes in 2011 rose for the first time since 2004, but lower pricing may continue the revenue decline

UK album volumes declined 5.6% in 2011. HMV’s new-found breathing space removes a key risk for the outlook

US radio royalties to music publishers have been agreed in principle and will see a return to a revenue based payment